Exhibitors Herald (1927)

November 12, 1927 EXHIBITORS HERALD 17 Four Pictures Given Premieres Fairbanks’ “Gaucho” Wins Fitting Reception By RAY MURRAY HOLLYWOOD, Nov. 8. — “The Gaucho,” Douglas Fairbanks’ latest contribution to the cinema world, was given a fitting reception last Friday evening when its world premiere was held at Sid Grauman’s new Chinese theatre. The opening exceeded in brilliance and splendor that of “The King of Kings,” the theatre’s initial film. Colorful Prologue Given An unusually interesting and colorful prologue called “Argentine Nights,” conceived by Mr. Grauman, shared honors with the picture. There were twelve numbers, enacted before a street scene in an Argentine village in the shadow of the Andes. Borrah Minnevitch and his harmonica orchestra of boys of all ages and sizes topped the bill, and Samuel Pedraza, tenor with an unusual voice, had to respond to several encores. Harry White and Alice Manning also stopped the show with a comedy dancing number. Arthur Kay’s orchestra rendered a perfect accompaniment of Argeatine music. The first reel of “ The Gaucho” is in technicolor and introduces a spiritual theme which is carried through the story. W hile there is plenty of action throughout the telling of the tale in many respects, it is a distinct departure from his usual light comedy style. His encounter with the man afflicted with the black plague and the healing of his hand lends a somber note to the whole. There are many beautiful sets, deft tricks of the camera that deceive the eye, beautiful mountain backgrounds and other bits of cinematography craftmanship that show extreme care and experienced handling by Tony Gaudio. The mobs of cowboys and soldiers were admirably handled by Director F. Richard Jones and the work of the entire cast was entirely adequate. Lupe Valez Plays Well Of course Lupe Valez, cast as the mountain girl, held second interest to Doug. It is the first appearance of Hal Roach’s “find” upon the screen and she plays with telling effect the fiery, carefree maiden in love with the bandit leader. Eve Southern, who plays “the girl of the shrine,” gave a convincing performance in a difficult role. There is a flash of Mary Pickford as the Virgin Mary in the early sequence before the miracle fountain. Following the screening of the picture Conrad Nagel introduced Douglas Fairbanks, who in turn asked several members of the cast to stand up. The story of “The Gaucho” is credited to “Elton Thomas,” who is none other than Douglas Fairbanks. Among those seen in the audience at the Grauman opening were Mr. and Mrs. Harry Rapf, Bess Meredyth, Billie Dove, Belle Bennett, Carol Dempster, Mr. and Mrs. Irving Heilman, Martha Sleeper, Carmelita Geraghty, Eve Southern, Mrs. D. J. Grauman, Mr. and Mrs. Adolph Ramish, Priscilla Dean, Charlie Murray, George Sidney, Hedda Hopper, Daniel Sully, Louella Parsons, Dorothy Herzog, Margaret Ettinger, Dolores Del Rio, Sally Rand, Sue Carol, Fritzi Rideway, Barbara Worth, Mary Philbin, Laura La Plante, William Seiter, William Beaudine, Edmund Breese, Don Alvarado, Betty Compson, Barbara Kent, Mr. and Mrs. Rufus McCosh, Mr. and Mrs. Joe Rock, Corinne Griffith, Mr. and Mrs. Robert Edeson, Sophie Tucker, May McAvoy, Dolores Costello, Louise Fazenda, Mr. and Mrs. Jack L. Warner, Kathryn McGuire, Marie Corda, Alexander Korda, Alice White, Virginia Lee Corbin, Alice Day and Marceline Day. Niblo Direction Noticeable in “Devil Dancer” By DOUGLAS HODGES LOS ANGELES, Nov. 8. — Gilda Gray made her second motion picture appearance last Wednesday when “The Devil Dancer,” a Fred Niblo Production, opened at the Million Dollar theatre to a filled house. It is the Samuel Goldwyn picture which was begun by Director A1 Raboch and turned over to Niblo after a four weeks’ period when Raboch was needed for another picture. Niblo s direction is very noticeable in the picture, his smooth story telling ability is evident in both the continuity and cutting. Despite his able work on it, there are many who saw the picture who declared the screen is not for Gilda. Her work appears to be slightly artificial and unseasoned. She appeared in a prologue to better advantage than in the picture. Jack Laughlin staged the show and built it entirely on her dancing act. It is probably Laughlin’s best presentation work and is evidence of his competence when he has a definite line to follow and qualified talent with which to construct a show. “Uncle Tom’s Cabin” Called One of Decade’s Best By JOHN S. SPARGO NEW YORK, Nov. 8. — If “Uncle Tom’s Cabin,” Universal’s big Harry Pollard production, is not one of the outstanding successes of the decade, there is little use in relying on the judgment of a dozen or more of the recognized best film men in New York. The picture was given its premiere last Friday night at the Central theatre before a critical audience in which were many exhibitors and many executives of companies other than Universal. All Call It Great Picture During the intermission and at the close of the performance this writer made as far as was possible a canvass of film men whose opinions have weight, and without exception the verdict of each was that Mr. Carl Laemmle had given to the screen a really great picture. Several prominent theatre owners expressed their regretful opinion that the production would hold up in roadshows for a year or two years and that it would be that long at least before they would have a chance to play it in their theatres. Several executives of other companies regretted the production did not belong to their companies, as they stated their belief that it would prove one of the greatest of all money making pictures. In all the laudations of the production the writer’s humble opinion concurs. That the big Pollard production will get the benefit of the best of road showing is evidenced by the fact that Universal has established a roadshow department and placed at its head Wayne Pierson, recognized as one of the best men in this line of picture showing. Hundreds Congratulate Laemmle Mr. Laemmle, whose $1,250,000 enabled Director Harry Pollard to spend two years in the making of “Uncle Tom’s Cabin,” stood in the foyer of the theatre during the intermission and after the ending of the showing, and was made happy by the hundreds of film people who felicitated him on having sponsored a production that will live and give pleasure to millions of persons for years to come. And now something about the picture. The production follows fairly closely Harriet Beecher Stowe’s great book, written in 1851 and credited by many historians with being one of the minor causes of the War of the Rebellion. One rather radical departure — but one which adds to the holding interest of the picture — is the bringing of the time of the story down into the Civil War. This Director Pollard has done by having Sherman’s march to the sea figure in the rescue of Eliza and her mother from imminent death at the hands of the ( Continued on page 21) Marion Davies Scores in “Quality Street” By JOHN S. SPARGO NEW YORK, Nov. 8.' — -“Quality Street,” M-G-M’s newest Marion Davies production, was given its world premiere last week at the Embassy before an audience composed largely of the intelligentsia. The picture, which is one of the most beautiful in the matter of settings, photography and costuming that has yet been given to Miss Davies, aroused spontaneous bursts of applause several times. There is little question but that, for such an audience as attended the opening night, “Quality Street” is about the best thing the beautiful Hearst star has yet done. It will be interesting to watch how the picture pleases the rank and file of audiences, who are prone to want more rapid action than is possible with this slow moving Barrie story. If any criticism can be made of the well made picture, which is almost faultlessly directed by Sidney Franklin, it is that it is too long drawn out. As shown, the production is something over 7,000 feet, and it is possible that it might be greatly improved by being shortened up in footage. The whole production exudes cost at every turn, and the reproduction of an English village of the year 1805 gave evidence that there was no stinting of the bankroll. Every effort was made by Dirctor Franklin to create in “Quality Street” a faithful picturization of Sir James M. Barrie’s sweet romance of the Napoleonic period. The cast was chosen with care, Conrad Nagel being given the part of the young doctor who returns from the war to find his boyhood sweetheart still awaiting him. Miss Davies gives a pleasing interpretation of the demure young Phoebe Throssel, and again as the hoydenish, fictitious niece, Miss Livvy. As Suzan Throssel, the elder sister of the charming Phoebe, Helen Jerome Eddy gives a performance which at times threatens to challenge Miss Davies for histrionic honors.